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The legendary Pierre Boulez in Lucerne








Pierre Boulez (Montbrison, 1925), the legendary composer, teacher and conductor, French, took leave on Sunday the Lucerne Festival Summer directing young musicians of the Academy's Festival. The artist, who at 85 years is in full swing and form, gave an unforgettable concert. Photos © Lucerne Festival.

Boulez, baptized by Dmitri Shostakovich as Archiapóstol of Modernism, is the visible head for six years, co-founder, teacher and conductor, the Lucerne Festival Academy, which meets young people under 28 who came from different corners of the globe. With Claudio Abbado, director of the Festival Orchestra, are, without doubt, the grand imam of the event, which takes place in this medieval city, and an auditorium designed by Swiss architect Jean Nouvel. Photos from the balcony of the auditorium of KKL © Liana Cisneros .

Boulez conducted several concerts at the festival with his works, like Igor Stravinsky, Elliott Carter, the Second Viennese School (Arnold Schoenberg, Anton Webern Alban Berg), Gustav Mahler and the young Dieter Ammann, composer in residence at the festival this year.

Sunday's concert began with 'Figures-Doubles-prisms' , his work of the late 50's and early 60's. Throughout the interpretation reigned a disturbing confusion heightened with the force of percussion instruments. Using a giant score rarely seen, and instead of his baton two hands, led the musicians with gestures safe and calm, like saving energy and effort.






The second part was the Mahler's Sixth Symphony. The twist was a bit rough, a return to convention, by the kind of orchestration, and dominated by stringed instruments (violins, violas, cellos and basses) - and more harmonic content. The Sixth Symphony, Mahler premiered at the German steel town of Essen in 1906, was launched (Allegro energetic) with cellos and basses in permanent martial tone, which prepared the pace for the second theme (Scherzo), a "outpouring of unbridled romance, a love song in honor of Alma [his wife]," as described by Alex Ross in his book Eternal Noise (2009). The final theme was a return to the martial tone and the last movement was a resounding beat of the drums, which connects with the sustained applause of the public. Top , Boulez working with musicians from the Academy of the Festival. Photos © Lucerne Festival.

The break with tradition
Pierre Boulez embodies the break with musical tradition, the liberation of the concepts and rigid models, and the pursuit of absolute freedom to create. Personality easy. An intellectual and demanding teacher, a prolific songwriter and a respected bandleader. His music has set standards and is a reference today. Your browser does instinct had its limits. His compositions from the first stage are loaded with violence and shock, which he considers necessary to break with the established. Over the years his work has been calming down and finding their own harmony. Photo © BBC.

It was first studied mathematics, then moved to the music and took classes with two teachers in time: the Frenchman Olivier Messiaen (1908-1992) and Polish René Leibowitz (1913-1972), who was a student member of the Second Viennese School. Messiaen and Leibowitz

introduced him to the techniques of atonality and the twelve-tone, both used extensively in the 1950's, among others, by Boulez, Luciano Berio, and Stravinsky. But Boulez did not stop there, continued to explore until the serialism (which combines notes, rhythms, dynamics, attacks, and more) and then surpass it, because he considered only the transition to something else. Some of his known compositions are: Sonata for Piano No. 1, Le Visage nuptial, Le Soleil des eaux, Le Marteau sans maitre, Poésie pour pouvoir, Rituel in memoriam Maderna, Memoriale .

As a musician and composer has fought almost every contemporary masters, as a conductor has tried to reconcile, and in some cases, has specialized in works of Schoenberg, Stravinsky, Webern and Edgar Varèse. It is also a promoter of other composers of his time and has premiered works by Berio, Karlheinz Stockhausen, Carter, Olga Neuwirth, York Höller, and Frank Zappa, among others. It is one of the pioneers in hosting electronic music and computer.

in Paris in 1970 created the Institute for Research and Coordination Acoustics / Music (IRCAM), an underground laboratory of electronic music would class as one, at the invitation of French President Georges Pompidou. He stood at the head of this institution for more than two decades.

came to the musical direction by chance, when he had to do a replacement, and liked it. It was the successor to Leonard Bernstein at the New York Philharmonic (1971-1977) and director of the BBC Symphony Orchestra (1971-1974), in addition to having traveled to other major orchestras.

has received several awards, including Theodor W. Prize Adorno (Germany), the Polar Music Prize, the Royal Swedish Academy of Music and the prestigious Glenn Gould Prize.

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the magical baton of Simon Rattle British

With white hair and gesturing very visible on the face and hands moving steadily to the right with his baton and left with their fingers, Simon Rattle (Liverpool, 1955) not only a great teacher but a great guide. Leads his army of musicians from the Berlin Philharmonic Orchestra (Berliner Philharmoniker Orchester / BPO) in paths that they leave behind magic sounds and unexpected. S. Photo Rattle © Lucerne Festival.







Sir Simon Rattle, director of the world's most prestigious orchestra, was presented this week at the Lucerne Summer Festival (Lucerne Festival im Sommer ) before a packed auditorium, and one of the annual festivals of classical music's most important and expected in Switzerland. Up, the JNF, which hosts concerts. Photos © Liana Cisneros.

The festival, which this year focuses on Eros, meets an irresistible lineup of names, including orchestras (the Vienna and Berlin Philharmonic, Cleveland Orchestra, the San Francisco Symphony), directors (Claudio Abbado , Pierre Boulez, Gustavo Dudamel, Esa-Pekka Salonen) and soloists (Karita Mattila, Anne Sofie von Otter, Anne-Sophie Mutter). Top , photo 1 / C. Abbado, 2 / P. Boulez concert a few days ago. © Lucerne Festival. Rattle

toured the music of composers who stood out in late nineteenth and mid twentieth century: the German Richard Wagner (1813-1883) and Richard Strauss (1864-1949), and the Austrian Arnold Schoenberg (1874-1951), Anton Webern (1883-1945) and Alban Berg (1885-1935 .)

The orchestration of the Prelude to Parsifal was sublime, every movement was perceived, from the subtle to the strength of the oboes and trumpets. Parsifal was the last opera written by Wagner, loved by some and criticized by others, including Adolf Hitler was the first and among the latter the philosopher Friedrich Nietzsche, who rejected their sickly Christian and obscurantist ideals. The work is based on the medieval epic Parzival by Wolfram von Eschenbach during the period of King Arthur. It is a work that Wagner took over two decades to finish and was released only in 1882, a year before his death.

Strauss came immediately after The last four songs, which was attended by the Finnish soprano Karita Mattila (1960), who with his magnificent voice brought the drama to its fullest (left. Photo © Lucerne Festival. ) . Strauss wrote this piece after the Second World War during a difficult and some despair. He lived in exile in Switzerland after having passed through pressure and humiliation by Hitler and his government.

Rattle and the Berlin Philharmonic returned from the break with works by three composers Austrian, known as the Second Viennese School. The fantasy and invention came with Five Pieces for Orchestra Schönberg, which followed those of his disciples, the musical mourning Six Pieces for Orchestra, Webern the unknown forces struggle Three Pieces for Orchestra Berg, who finished with a thunderous percussion hammer blows. Leaving footprints


Simon Rattle international recognition came when conducting the Symphony Orchestra of the City of Birmingham, which became one of the most respected in Britain. Directs the Berlin Philharmonic since 2002 and has managed to transform, something not easy when you take into account that bears the weight of their predecessors (Hans von Bulow, Herbert von Karajan, Claudio Abbado, among others). The BFO is now a foundation controlled by its members and not by politicians. Not long ago, launched the project in concert halls Digital (Digital Concert Hall), with live concerts over the Internet. "No is a profitable model. People are not used to paying for content, but is the future and the musicians wanted to get on it. We're thrilled to know that a concert you're seeing 15 people in Colombia, for example. Or one day public have of Wynton Marsalis. We are very happy ", said in an interview with the newspaper El Pais Spain. Up, Rattle picture with his third wife, the Czech mezzo-soprano Magdalena Kozená, next to a photo expressive.







Rattle moves comfortably in all different genres, the proof is in the discs you've recorded, ranging from Beethoven, Mahler, Brahms and others, to the Children's Choir Toronto. His album Planets and Asteroids (The Planets & Asteroids), Gustav Holst, has been chosen as the magazine's Choice Orchestra Music from the BBC. In 2006, Rattle and FB, were the soundtrack of the film Perfume by German director Tom Tykwer, based on the novel by Patrick Suskind German.

His relationship with Latin America began several years ago when he discovered the National System of Youth and Children Orchestras of Venezuela, created by the maestro José Antonio Abreu for 35 years and has saved thousands of children and youth in poverty. Generously sponsored and supported internationally Gustavo Dudamel, left the quarries Abreu, now a young conductor most admired. Venezuela Rattle visit frequently and did a few weeks ago to sponsor the National Youth Symphony , comprising 377 children and adolescents, which are probably players who shine in the near future.